I hear the hiss evidently thru my in ear monitors. On my amp, its not as audible. It might be the Sennheiser phantom power though. I'll try with another phantom power to see if it's the same problem.
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Double Bass DPA 4099 vs AMT SP25B
- Thread starter Ric Vice
- Start date
my point is that the ART is a perfectly adequate means of getting there in the short term ... i'll probably spring for the summit pre, or something similar at some point, but to be fair not everyone is in a position to drop righteous coin all the time on gear. I wouldn't record with it, but for live gigs, ART works, if you give it two seconds worth of thought in setting the controls it sounds ok. maybe i got lucky and got a quiet tube.
some gear is a perfectly acceptable stepping stone to the next level. the choice between a piezo pickup through a summit DI (which is what i was using) and the 4099 through the ART is ... a whole different level.
jeff.
some gear is a perfectly acceptable stepping stone to the next level. the choice between a piezo pickup through a summit DI (which is what i was using) and the 4099 through the ART is ... a whole different level.
jeff.
So, DPA guys: everybody but Roger still enjoying the mic as much as before, or is the honeymoon beginning to wrap up? I'm on the fence and leaning...
I did get one with the Violin mount and the DAD6001. I use the belt clip to secure it to my bow quiver.
Not having experience with other mics previously, I can state I am quite happy with the sound.
I have simply been running it through my amp and a Wizzy 10. I have the Headway preamp. I use it for eq, and the AI Clarus' HPF. Although, I haven't plugged it through my Micro 300, I would most likely have to use the Notch Filter on the EDB-1 if I ran into difficulties.
For the most part, the phase reversal on the preamp seems to immediately address any feedback concern there.
I very much prefer the sound of the mic to my Realist. However, it's nice to know I could blend mic and pick up if needed.
The only reason I haven't posted a review is because I am on the early side of the curve with Double Bass. Furthermore, I have not yet used it on a gig.
Not having experience with other mics previously, I can state I am quite happy with the sound.
I have simply been running it through my amp and a Wizzy 10. I have the Headway preamp. I use it for eq, and the AI Clarus' HPF. Although, I haven't plugged it through my Micro 300, I would most likely have to use the Notch Filter on the EDB-1 if I ran into difficulties.
For the most part, the phase reversal on the preamp seems to immediately address any feedback concern there.
I very much prefer the sound of the mic to my Realist. However, it's nice to know I could blend mic and pick up if needed.
The only reason I haven't posted a review is because I am on the early side of the curve with Double Bass. Furthermore, I have not yet used it on a gig.
Sounds good. If I were to order it, it would be to attach to the bass to stay on, as Vincent does. I might even rig a dual cable thing to simplify setup. Sounds like no one is having concerns about the cable being too fragile. Excellent!
Chris,
Using the DPA will give you a sound that has almost the same tone quality as your instrument, or at least that's the case with me. We used it to record in October, it sounded great. The cable is very thin, but if you use a regular mic cord and just stow it ,like Vincent does, then it's really not an issue. With the introduction of this mic DPA's come very close to a mic that competes with a Piezo PU volume wise and sounds much more like the bass.
Ric
yea I made a cable using a 1/4inch and a mic cable and threaded them thru a 2 cable snake sleeve. shrink wrapped the ends and it works great....
Ive had a DPA for a couple of months now, its been a real learning curve trying to adapt to using a mic live. I still think its a quality item, but im wondering how others are getting on with it?
I havent used to through a big FOH system (not doing any big gigs at the moment), but have been using it through my Berg IP112 with a Headway preamp. It sounds great at quiet levels, but it does start ringing and feeding back on me if i have to match a drum kit. I usually have to blend it with a Realist to get some volume. I used it through a small pa in a bar the other day and couldnt get any sort of volume from it before it fedback.
Im sure that the more i use it, the more ill get used to it and get more from it.
How is everyone else getting on with thiers?
I havent used to through a big FOH system (not doing any big gigs at the moment), but have been using it through my Berg IP112 with a Headway preamp. It sounds great at quiet levels, but it does start ringing and feeding back on me if i have to match a drum kit. I usually have to blend it with a Realist to get some volume. I used it through a small pa in a bar the other day and couldnt get any sort of volume from it before it fedback.
Im sure that the more i use it, the more ill get used to it and get more from it.
How is everyone else getting on with thiers?
I used the mic ( with the flat adapter ) in big Opera Hall through a big FOH system. I didn't ask in my monitor ( I was coward ), but the rest of the musicians listen my mic only signal in their monitors, only I used the FC to the small GK to listen myself. Both the front and the stage soundman like the mic very much. The front sound soundman told me he will buy a 4099 with few different mounts.
I use the mic all the time directly to PA, but I absolute agree with Uncletoad, this is a very good quality mic, sound very clear and detailed, if you need a preamp to use it, the only way to go with a quality micpre and the SummitAudio seems the best choice under $700. I don't think the compressor is so necessary if you have a decent instrument.
I use the mic all the time directly to PA, but I absolute agree with Uncletoad, this is a very good quality mic, sound very clear and detailed, if you need a preamp to use it, the only way to go with a quality micpre and the SummitAudio seems the best choice under $700. I don't think the compressor is so necessary if you have a decent instrument.
I just posted this over on another thread but it's relevant here so I'm duplicating it a little. Apologies to anyone who has already read it.
Bruce Myers of DPA Microphones got in touch with us a few weeks ago saying that his company had been bombarded with questions about compatability with the EDB-1. Players wanted to know whether their microphones would function at 18 volts of phantom power and whether there was any possibility that using them under these conditions could result in damage to the microphone. He asked us to send him the box and he would have his tech people bench test it for any potential problems. Well...
Bruce called me just before Christmas and delivered the good news. He and his people began by spending a fair amount of time testing and playing through the EDB-1 just to get a feel for it's functionality. As a direct box/eq they declared it better than good in fact he said I could quote him as saying he personally thought it was "stupid good!". DPA microphones, he says, work just fine at 18 volts phantom power and there is no possibility that this will cause any damage. There is a slight reduction in specs when used at that voltage level with the difference mostly being manifested by a slight increase in noise levels. Taking into account that this combination will be used almost exclusively in a live situation and that the increase is so small he said that it would not be noticeable. He then went on to say that they liked it so much that they are going to recommend it as "the best eq/direct box for use with their microphones in a live acoustic situation". He asked me if they could hang on to the EDB-1 they tested to use at the upcoming NAMM show to demo some new mics they are introducing and that they will be telling their dealers to point their customers to the EDB-1 as their first choice for live acoustic setups.
Bruce Myers of DPA Microphones got in touch with us a few weeks ago saying that his company had been bombarded with questions about compatability with the EDB-1. Players wanted to know whether their microphones would function at 18 volts of phantom power and whether there was any possibility that using them under these conditions could result in damage to the microphone. He asked us to send him the box and he would have his tech people bench test it for any potential problems. Well...
Bruce called me just before Christmas and delivered the good news. He and his people began by spending a fair amount of time testing and playing through the EDB-1 just to get a feel for it's functionality. As a direct box/eq they declared it better than good in fact he said I could quote him as saying he personally thought it was "stupid good!". DPA microphones, he says, work just fine at 18 volts phantom power and there is no possibility that this will cause any damage. There is a slight reduction in specs when used at that voltage level with the difference mostly being manifested by a slight increase in noise levels. Taking into account that this combination will be used almost exclusively in a live situation and that the increase is so small he said that it would not be noticeable. He then went on to say that they liked it so much that they are going to recommend it as "the best eq/direct box for use with their microphones in a live acoustic situation". He asked me if they could hang on to the EDB-1 they tested to use at the upcoming NAMM show to demo some new mics they are introducing and that they will be telling their dealers to point their customers to the EDB-1 as their first choice for live acoustic setups.
After being a bit sceptical re the DPA 4099 I've borrowed a friend's Headway. I put my DPA (guitar mount, low cut) on the end of the fingerboard looking midway between the f-scroll and bridge foot, G side, about 25mm above the table. I put the signal into the Headway and then fed into the effects out of my Clarus and into an EA 10" Wizzy. Using the Headway gave me three times more feedback-free volume than previously with a very true bass sound. So I'm now looking forward to gigging the whole combination.
Slightly off topic, but I played up in Cincy last weekend and ran into bassist Steve Whipple there - nice player. While listening to his set, I noticed his sound was very natural and organic. When I asked him how he was amplifying, he told me he was using a DPA 4021 omni attached to the top beneath his bridge though the house, no amp. It was a little on the quiet side for me, but the sound was very natural and clear. He got no feedback with an omni mic attached to the top while standing next to the drummer.
(!)
This DPA stuff must really be something else.
(!)
This DPA stuff must really be something else.
Indeed it is, even though the 4021 is a cardioid, not an omni. That would be a 4051.
Cheers,
Vincent
Ah. Steve thought it was an omni. Either way, it was an interesting setup: a little disc of - I'm guessing - velcro about the size of a shirt button attached to the top, with the mic attached to the top with the diaphragm pointed across the top up toward the fingerboard. It was probably the smallest mic I've ever seen.
All I know is that he said it was a 4021. Whatever it was, it sounded really good for something that wasn't even pointed at the table!
